BA(JMC) 206 , Television Programming and Production

TELEVISION PROGRAMMING
AND PRODUCTION
BA(JMC) 206
Unit II

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.1

Syllabus- Unit 1
Unit II: [Pre-Production]
1. Ideation, Programme Brief, Objectives, Synopsis, Research -
Recce and Treatment
2. Scripting a Programme: Story Boarding and Script Breakdown
3. Maintaining Continuity, Make-up, Set-designs, Costumes,
Props, Floor Plan
4. Budgeting

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What is Ideation
• Ideation is a dynamic and imaginative process that involves
generating, refining, and conveying fresh ideas. An idea is a
fundamental component of thought that can be expressed in
various forms, including visual, tangible, or conceptual. The
ideation process encompasses all stages of the thought cycle,
from initial innovation to further development.

• Ideation can occur on an individual level, within organizations, or

through the collective effort of a group. It is a vital aspect of the
design process, relevant in educational and practical contexts.
Through ideation, individuals and groups can explore novel
solutions, enhance creativity, and ultimately bring their ideas to
fruition.

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 BA(JMC) 206 , Television Programming and Production

Finding an idea
• Coming up with an appropriate idea, even for a brief three-minute
story, can be a challenging task. The most successful program
elements, well-suited for magazine-style TV programs or longer
factual shows, are usually based on simple ideas. While there are
no completely novel concepts in television, numerous ideas
resurface in different ways.

• For instance, consider the example of Kaun Banega Crorepati.

Although it is just another quiz show, it is not too dissimilar to
Mastermind, yet it has an extra suspense element that sets it
apart. It is important to be innovative but not imitative. Build on
what you already know works, but avoid duplicating what already
exists on television.

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Ideas wall
• Write down the name of six favourite places you actually know or
would like to know, using one note page per place. Stick them all
up on the paper in a line under each other. Some will be
accessible, like the local beach or the Lake District; others may
be harder to get to, like Rome.
• Write down the names of six people who interest you. Be as
specific as you can - for example, Divya: stand-up comedian,
Lakshay: bass guitarist - or just use names of people you know.
Put them on the Paper.
• Write the name of six specific activities that interest you on
another six bits of paper and put them up on the wall opposite the
places - for example, shopping, bungee jumping, clubbing or even
drinking Bacardi Breezers.

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Cont…
• Think laterally. What will create the unexpected or the
most unusual?
• Now move your bits of paper around to make a
meaningful line of three: location, activity and person.
You might get

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 BA(JMC) 206 , Television Programming and Production

Programme Briefs
• What’s the purpose of your video?
• You need to communicate the goal of your video to the company.
Is it to launch or support a specific campaign? Is it an attempt at
solving a particular problem? What are the key messages about
the company you want to come across in the video? The more
context that the production company can understand, the better.

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Cont…
• Who do you want to see it and how will they see it?
▪ Who will your audience be? What do they know about you
already? Explain what your intentions are in terms of the
distribution of your video. Is it for conferences or training? Or
are you planning to have it online? Maybe it is for TV?

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Cont…
• What do you want it to include?
▪ It helps if you have some ideas about what content you want in
your video. Also, you should explain to the production
company what you can already bring to the table, e.g.
locations, contributors, or maybe you have hired a celebrity for
voice-over. You may have archive footage that you would like
to be featured in your video, or it might be a necessity that the
video includes an interview with your CEO. If so, make it
known!

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 BA(JMC) 206 , Television Programming and Production

Cont…
• How would you like it to be narrated?
▪ Do you have a preference about how your video will be
narrated? Do you want voice-over? Text titles? Talking heads?
Knowing about this before you start is good because each
option gives a very different feel to a video. A video production
company can walk you through these options' pros and cons if
you are unsure.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.10

Cont…
• What style would you like it to have?
▪ Do you want the video to be like a documentary? Would you
like lots of talking heads? Maybe you want to create something
impressively cinematic. If you can draw on examples of videos
that use styles you aspire to, it would be beneficial to share
them with the production company.

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Objectives

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 BA(JMC) 206 , Television Programming and Production

WHAT IS A SYNOPSIS?
• A synopsis is a write-up describing your story’s plot and
world. A script synopsis can be used to sell your idea. A
synopsis can also be written when providing screenplay
coverage or script analysis to agents, managers, and
producers.
• You can write a brief or long synopsis, depending on the
goal. Usually, a movie synopsis length is one page or
less.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.13

When to Use a Synopsis?

• A movie synopsis should explain who is the main
character (or characters), what they want, and who or
what stands in their way.
• It should also function as a plot synopsis in that it should
describe broad strokes of what the characters do in an
effort to get what they want.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.14

How to Write a Synopsis

• So, how DO you differentiate your synopsis from a logline or an
outline?
• A good chunk of it comes down to length. Use our synopsis
template to keep yours at the proper length.
• Loglines barely cover two sentences. Ideally, they stay at about
one.
• Outlines can go upwards of five to even ten pages. And
treatments can run even longer, breaching the teens.
• The reason why outlines and treatments can go so long is
because they’re a scene-by-scene breakdown written in prose.
• An outline or treatment is not a novel, but basic concepts and
actions of every scene need to be covered.

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Rajender Singh Thakur U2 5
 BA(JMC) 206 , Television Programming and Production

The Do's of Writing a Movie Synopsis

• Length: Keep your synopsis to one page. Anything
longer than that and it defeats the point of writing a
synopsis.
• Tone and Voice: Your movie synopsis should be
written in the present tense, third person. Tell the story
in the same tone and voice as the script.
• Characters: Make sure you introduce each character
with something unique about them, whether it's a
physical feature or another idiosyncrasy. The reader
should know exactly who each character is, what they
want, and why they want it.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.16

Treatment
• There are three main stages in turning your idea into a
television programme: preproduction, production and
postproduction.
▪ Crafting a treatment is an essential step in presenting your
idea to a broadcaster in a professional manner.
▪ This process involves vividly envisioning the story you wish to
tell and how it will be tailored to captivate your intended
audience.
▪ The act of creating a treatment forces you to meticulously
visualize each sequence of the film in your mind, resulting in a
crystallized and refined idea.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.17

Treatment
• A standard treatment typically ranges from 5 to 10
pages, with crucial information organized under
appropriate headings.
• Once you have exhaustively developed and researched
your idea, you may wish to expand upon it in a multi-
page proposal.
• However, it is critical to begin with a treatment, as
executive producers and budget handlers will often
request this preliminary document.
• By creating a thorough treatment, you can effectively
communicate the essence of your idea and provide a
compelling overview of your proposed project.
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Rajender Singh Thakur U2 6
 BA(JMC) 206 , Television Programming and Production

Treatment
• A standard treatment includes the following information
in this order.
✓Program title. A good title often gives a pointer as to what your
programme is about.
✓Producer and/or director. Include the name of the person in
charge of the production.
✓Duration. Select a recognized TV duration - for example, 10
minutes, 15 minutes, or 30 minutes.
✓ Audience. It is important to define your audience as clearly as
possible for example, late night on BBC2, or daytime on a
popular lifestyle digital channel.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.19

Treatment
✓A resume is a condensed version of your program's structure
and content, and it's crucially important. To make the most
impact, be concise and focus on the essential storylines that
highlight the most compelling, original, and visually engaging
aspects of your program.
✓Shooting days. Say how many days shooting this production will
need. You must get this right. The budget will depend largely on
this detail, especially on a single-camera low-budget shoot.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.20

Suggested elements
✓Set out the exciting, audience-grabbing aspects to your show in
terms of content, style and people.
✓• Include the names of characters who have agreed to feature in
the programme. Be realistic. Madonna will not be available
unless you have special access. But lesser luminaries may well
be interested in taking part if the subject matter is something that
really interests them.
✓• Say what the show looks like in terms of televisual style.
✓• Say where it will be filmed.
✓• Say whom you have in mind to be your presenter (be realistic).
✓• Say what aspects of the programme are unusual or special

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 BA(JMC) 206 , Television Programming and Production

Treatment example

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 BA(JMC) 206 , Television Programming and Production

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.25

Research
• All television programmes need research. Television
research is largely about people. It is either looking for
information about people, or it is about getting hold of
[Link] have actively to seek out those interesting
characters for your documentary. You may meet some
of them in the course of your daily life, or even in the
pub. Then comes the difficult bit of getting hold of them
again, and persuading them to take part in your
programme. A lot of people research is carried out on
the phone.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.26

The Recce
• meaning a survey or discovery. It has come to mean
finding locations suitable for filming.
Doing a recce
• To make quality programming you must do a recce on
every location, no matter how small or insignificant the
location might seem.
• Always take notes.
• Use a minidisc or MP3 recorder to Voice notes or
interviews giving information.
• Take picture

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Rajender Singh Thakur U2 9
 BA(JMC) 206 , Television Programming and Production

WHAT IS A SYNOPSIS?
• A synopsis is a write-up describing your story’s plot and
world. A script synopsis can be used to sell your idea. A
synopsis can also be written when providing screenplay
coverage or script analysis to agents, managers, and
producers.
• You can write a brief or long synopsis, depending on the
goal. Usually, a movie synopsis length is one page or
less.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.28

When to Use a Synopsis?

• A movie synopsis should explain who is the main
character (or characters), what they want, and who or
what stands in their way.
• It should also function as a plot synopsis in that it should
describe broad strokes of what the characters do in an
effort to get what they want.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.29

How to Write a Synopsis

• So, how DO you differentiate your synopsis from a logline or an
outline?
• A good chunk of it comes down to length. Use our synopsis
template to keep yours at the proper length.
• Loglines barely cover two sentences. Ideally, they stay at about
one.
• Outlines can go upwards of five to even ten pages. And
treatments can run even longer, breaching the teens.
• The reason why outlines and treatments can go so long is
because they’re a scene-by-scene breakdown written in prose.
• An outline or treatment is not a novel, but basic concepts and
actions of every scene need to be covered.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.30

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr.
Rajender Singh Thakur U2 10
 BA(JMC) 206 , Television Programming and Production

The Do's of Writing a Movie Synopsis

• Length: Keep your synopsis to one page. Anything
longer than that and it defeats the point of writing a
synopsis.
• Tone and Voice: Your movie synopsis should be
written in the present tense, third person. Tell the story
in the same tone and voice as the script.
• Characters: Make sure you introduce each character
with something unique about them, whether it's a
physical feature or another idiosyncrasy. The reader
should know exactly who each character is, what they
want, and why they want it.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.31

Scripting
• write a script for (a play, film, or broadcast):
• How to write scripts for Radio and TV shows
▪ For TV, Radio, or Film,, script writing follows certain basic principles. If you
are a professional scriptwriter, it may be good to remember the following
points.
✓ STATE YOUR OBJECTIVE
✓ Identify YOUR AUDIENCE
1. What is the age group of my audience?
2. Which gender am I targeting more: males or females?
3. What are the education and experience levels of my audience? (In other words,
who will understand my words — if its full of high-brow jokes a la Woody Allen, you
are not writing for pre-High School kids)
4. What biases are your audience likely to have? (For example, its always better not
to write stories with religious bias such as anti-Islam or anti-Semitic)
5. Why are they watching this programme?

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RADIO SCRIPT
• Radio is a blind medium’, which means it’s a challenge
to grab the attention of the listener for a long. People
tune in to the voices or programmes that are dynamic
and engaging, and unique. For radio writing, the first
part is about writing to be heard. You start with the
assumption that people have very short attention spans.
To hold someone’s attention, you have to be Intelligible.
So how do you write to be heard?

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 BA(JMC) 206 , Television Programming and Production

• Use simple sentences. This is particularly true of radio ad spots. ‘Rush to the
store Now!’ is an example.
• Use personal pronouns. Radio is a very ‘close medium. It means, more often
than not, a person is listening as an individual, not as part of the group. In most
cases, we have to address the listener directly. Creating such an intimate
connection is key to radio writing. This can be done using personal pronouns of
the first, second, or third case. Eg, I, We, you, us, etc
• Use contractions. It’s best to use conversational language than be fanatic
about grammatical accuracy. You can say ’I'll’ instead of I will because that’s
how it’s in the real world. Similarly, users can't don’t, etc., unless you are using
the expansions for style, emphasis, or to convey emotion.
• Use active voice as much as possible unless you don’t have a doer’ for the
action. The speech delivered by the president is long, boring, and convoluted.
Instead, just say, ‘The president delivered the speech.’

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WRITING FOR TV/VIDEO

• Step 1> Select your show’s format:
▪ 1. Lecture: This could be the most boring type of TV and
infact this type of TV was used in the initial days. Its just one
person talking. k may be more interesting if it’s a very dynamic
leader delivering a speech, but if the speaker is not articulate
and engaging, it could be very boring. At the same time, if the
programme is on a shoe-string budget or requires an expert to
talk about rocket science, then this is the best way to go. It is
best to show graphics, flip charts, props and demonstrations to
make it more visual. Imagine how boring cookery shows would
be without the visual demos.

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▪ 2. Interview: another way of doing programme if you are

on budget constraints is to do interviews. This is best for a
news based channel but we see many documentaries with
interviews inserted between shots. If the interviewee is a
dynamic personality or an expert who knows some great
secret no one else knows, then it could have dramatic effects
on the shows. That explains the power of exclusive’ interviews.
The moment you hear its an exclusive, you have a sense that
some secret is going to be revealed.

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 BA(JMC) 206 , Television Programming and Production

▪ 3. Panel discussion: Another way of creating engaging

TV is to have panel discussions. Remember that much of the
panel discussion is not going to be ’ scripted’ though a
moderator would have clear ideas as to where the discussion
leads to. The scripting/moderating success depends on how
much the panel stays within the topic. It could be very
animated and attention-grabbing if the panel consists of people
on extreme ends of an issue being discussed. Let’s say, for
example,e you pit Julian Assange against Hillary Clinton plus a
few hackers on a TV panel discussion. It’s unlikely to happen
but it would be fun to watch if it does!

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▪ Voice-over narration: you have Morgan Freeman to narrate a

story or documentary for which you have arranged the visuals;
great. At least get someone closer. Voiceover narration can be
engaging only if the voice is good enough. But that does not
mean it has to be a gravelly voice only. The point is to engage
the audience with an enticing combination of visuals and
audio. In this kind of script, it will be important to script exactly
what will be heard against the visuals.
▪ Dramatization: TV ads, sitcoms, or TV serials. This will
probably be the costliest on this list, because it needs talent,
technicians, and props in one place. But this kind of TV is the
most watched too. So if you have a moneybag supporting this
script, nothing like it!

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• Examine your dead lines, capabilities and Budget

•

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 BA(JMC) 206 , Television Programming and Production

Single-Column Scripts
• Short and feature-length films are scripted with very
specific standards for style and formatting, and many
screenwriting programs have been developed to assist
the writer with proper formatting. Final Draft is a
screenwriting program with many formatting features
commonly used by many screenwriters.

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Two-column, split-page script format

• This format is used for multiple-camera productions, as well as for
advertisements and corporate and instructional videos.
• Unlike the screenplay format, governed by fairly precise
guidelines that have evolved since the beginning of moviemaking,
the two-column or AV script format has only a few guidelines, and
exceptions exist. However, some conventions have emerged as
fairly standard. The conventions presented here are suggestions;
it must be understood that each client may require different format
standards of the writer. Following these guidelines is a sample
script, Writer's Block, demonstrating most of these elements.

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COLUMNS
• The video column is on the left; the audio column is
on the right. The shot descriptions in the video
column should be aligned horizontally with their
corresponding sound or dialogue or music in the
audio column.

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 BA(JMC) 206 , Television Programming and Production

COLUMN LABELS
• The columns may have VIDEO and AUDIO headings
on each page, which may even be underlined, though
none of this is necessary. The suggestion here is that
the columns are obvious without headings, and
because headings require extra space in the header,
they may be eliminated.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.43

Video Script

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Story Boarding
• A storyboard is a graphic layout that sequences
illustrations and images with the purpose of visually
telling a story shot by shot.

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What is a storyboard?
• A storyboard visually represents a film sequence and
breaks down the action into individual panels. It is a
series of ordered drawings with camera direction,
dialogue, or other pertinent details. It sketches out how
a video will unfold, shot by shot.

• It is similar to a trial run for your finished film, video, or

commercial, laid out in a comic book-like form.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.46

Cont..
• Drawings, sketches, reference images or photographs
to represent each frame.
• A description of the shot — any relevant information on
the action, dialogue, or composition.
• Shot specs — shot size, lens length, two-shot, etc.
• Arrows to indicate camera and/or character movement
or how each shot connects to the next.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.47

Cont…
• (34) Maximus Defeats The Tigris of Gaul | Gladiator (2000) | Screen Bites - YouTube

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.48

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What Is a Script Breakdown?

• A script breakdown is an important filmmaking process
that allows you to identify all the script elements needed
to prep, schedule, and budget film production. A
breakdown happens at a scene level. The person
tasked with the job will create scene breakdown after
scene breakdown until a full, start-to-finish script
breakdown is completed. This will be used to determine
technical and creative requirements for each
department.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.49

Script Breakdown Element

• A script breakdown element is an object, person, or
process that is identified when creating a scene
breakdown, such as:
✓Cast / Characters ✓Livestock
✓Extras ✓Sound
✓Props ✓Music
✓Set Dressing ✓Special Equipment
✓Costumes
✓Makeup
✓Vehicles
✓Stunts
✓Special Effects or VFX

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.50

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Maintaining Continuity
• What is continuity in the film?
▪ Continuity is the way in which a film’s plot, characters, events,
and props follow a logical progression to create a cohesive
story world. This process is also impacted by technical
filmmaking elements such as cuts, angles, and editing.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.52

How to Identify Continuity Mistakes in Film

• Prop and costume continuity. Prop and costume
inconsistencies are film and TV's most common continuity errors.
Examples of errors between takes include different colour
mugs being used throughout a scene or different numbers of
buttons being buttoned on an actor’s coat.
• Acting continuity. Filmmakers often shoot several takes of the
same shot to give editors as many options as possible during
post-production—and with so many takes, actors may do things
slightly differently each time, introducing small continuity
mistakes. Examples of errors in acting continuity include
actors using a different hand when picking up a prop, or
looking in a slightly different direction in each take when
delivering lines to an off-camera character, creating a
fluctuating point-of-view.
© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.53

Cont…
• Time continuity. When filming schedules require that
shots in the same scene be filmed hours, days, or even
months apart, spatial continuity variations between
shots can be difficult to plan for. Examples of errors in
time continuity include significant changes in weather or
season, or different lengths of shadows between shots.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.54

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Cont..
• Plot continuity. Perhaps the most significant consistency errors
are errors in plot continuity. Often called “plot holes,” these errors
aren’t about visual continuity—rather, they’re conceptual
inconsistencies that can occur when a script hasn’t been written
carefully, when a script has undergone significant revisions, or
when actors improvise during scenes. For example, if a character
says they’re an only child and later tells a story about a sibling,
that would be a plot continuity problem.
• Camera and audio continuity. Throughout a film or TV episode,
picture settings and audio levels should be consistent, which
means that filmmakers need to take special care to ensure they’re
using the same equipment and correct settings for each shot in a
scene. If not, there could be distracting variations in things like
light levels, image sharpness, or volume.
© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.55

Why Is Maintaining Continuity Important?

• Continuity is vital to good storytelling because it helps keep
viewers immersed in the film or TV show. Filmmakers want
audiences to be able to pay attention to the action and dialogue
during their story as if it’s happening in the real world, and when
every detail of a set is consistent throughout a scene, the
audience can pay full attention.

• However, if little details are inconsistent, or if there are plot holes

in the story, viewers will become distracted and won’t be able to
focus on the storytelling; they’ll spend more time thinking about
the fluctuating water levels in a character’s glass and less time
listening to the dialogue or caring about the story. That’s why
maintaining continuity is crucial—it keeps audiences engaged.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.56

Tips: To maintain Continuity

1. Take photos. The best way to be sure of even the
smallest details of a shoot stay consistent is to take
photos.
2. Maintain detailed continuity reports. Continuity reports
are detailed records of each day’s shoot, including camera
settings, screen direction, weather, props, and any
possible deviations from the script.
3. Keep your shooting days close together.
4. Hire a script supervisor.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.57

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The Necessity for Makeup in TV and Film

• With the advent of HD cameras, film makeup has
actually become a greater necessity than before, as
these powerful cameras can pick up even the tiniest
detail on an actor’s face. This is probably the golden
age for the film makeup artist. That being said, film
makeup is necessary for three reasons we will briefly
discuss below.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.58

Cont.
• Basic Makeup
▪ Basic makeup serves the purpose of compensating for the
undesirable changes in your appearance caused by the lights
and cameras.
• Corrective Makeup
▪ Corrective makeup is used to enhance your positive
attributes and correct flaws.
• Character Makeup
▪ The purpose of character makeup aims to alter your
appearance to make you look more like the character you
are playing.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.59

• Basic Makeup • Corrective Makeup

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Character Makeup

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.61

Importance of Set Designing

• Set design is the art of creating the physical space
where a performance takes place, including scenery,
props, furniture, and overall appearance. It is an
essential element of visual storytelling in film, TV, and
theatre. A well-designed set provides context for the
performance and communicates the tone and
personality of the show.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.62

Cont.
• It also contributes to a production's reputation and can
serve as a form of branding and good PR strategy.
Moreover, the set design communicates themes,
symbols, periods, and a movie’s setting. In summary,
set design plays a vital role in the entertainment industry
by supporting the production's style and breathing life
into a performance.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.63

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Set Design
• Set design should be avoided as in composition, formal
balance and regularity. Certainly, the traditional interior
set is elementary to design and easy to construct. But if
all the sets in the programme are of that nature, the
scenes may be monotonously alike and lack the
compositional movement that comes with foreground
pieces, winding stairs, interesting fireplaces, and large
bay windows. However, extremes in that direction are
to be avoided.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.64

Set Designer
• The main tasks are likely to include:
• ✔ studying scripts and discussing ideas with the
director
• ✔ Researching details for the production
• ✔ Communicating ideas to costume, make-up, props
and lighting designers
• ✔ producing sketches, scale models and technical
drawings and elevations of the proposed set of designs
using computer-aided design CAD
• ✔ Supervising costs and set building.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.65

Jewellery for TV
• Jewellery can represent two problems. First, if it's highly
reflective, the results can range from a simple
distraction to creating annoying streaks in the video.
The simplest solution is to substitute non-reflective
jewellery or remove it altogether. The second problem
with jewellery such as necklaces and beads is noise --
especially if it comes in contact with a personal mic.

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Tv Costumes
• TV productions usually require a costume team
comprising a Costume Designer, Costume Assistant or
Wardrobe Supervisor and two dressers.
• A programme may take weeks or months to film, and
such a team is required in order to collate and maintain
costumes, paying particular attention to the portrayal of
characters and costume continuity.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.67

Cont..
• In the Wardrobe Department, you find the following
positions
✓∙ Costume Designer
✓∙ Costume Assistant or Wardrobe Supervisor
✓∙ Dressers or Wardrobe Mistress or Master

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.68

Cont.
▪ Managing the audience, explaining safety requirements, show timings and
explaining what will happen during filming and when the programme will be
aired;
▪ Referring to floor plans;
▪ Dealing with any technical problems or crises;
▪ Controlling the studio and halting production if necessary;
▪ Liaising with public relations staff to agree on who will be interviewed, for
example, at sports matches;
▪ Passing information and progress reports from live events to studio
presenters;
▪ Adhering to health and safety regulations, e.g. keeping 'safe areas' and fire
exits clear of equipment.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.69

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Budget
• Most budgets are a matter of organizing essential
expenses both from producing personnel and from the
projected costs of the production and postproduction.
The basis for much equipment and facility costs can be
obtained from a rate card, which most production
facilities and equipment suppliers make available to the
potential clients.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.70

Budget
• Every Penny Must Go On Screen - Traveling to
locations, unloading equipment trucks, rigging lights,
laying dolly track, organizing crowd scenes, etc. is time
consuming and expensive. Most importantly, this work
does not appear on screen per se. In order to make a
successful low budget documentary, you must put
every penny on the screen.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia and Mr. Rajender Singh Thakur, BVICAM, New Delhi U2.71

• If a story can be told with 10 locations, why use 20? If it

can be told with a cast of 6, why use 12? Are elaborate
lighting setups and camera moves adding to the story or
are they just burning up the budget and pulling down
overall quality? You must ask these hard questions.

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Budget

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